One Flew Over the Cuckoo’s Nest at the Old Vic

Told through the eyes of Chief Bromden (Arthur Boan), One Flew Over the Cuckoo’s Nest has arrived at The Old Vic. Revived with Clint Dyer as director, the show brings with it a visceral, raw energy as it reintroduces audiences to the mental institution where Randle McMurphy learns a bit more about what it is to be human, but also the societal constraints that exist on those who are deemed less than human by the authorities who govern them.

Things that worked well in One Flew Over the Cuckoo’s Nest include casting Aaron Pierre as the main protagonist, Randle P McMurphy. Though his performance is initially unconvincing, as he settles into the role, Pierre really comes out of his shell and becomes both the comic relief for the inmates and the audience, and the beacon of justice in an otherwise dismal setting. McMurphy’s interactions with Nurse Ratched (played by Olivia Williams) are a feast of both unrequited sexual tension and a rivalry of affection, adding to the calibre of both performances. To pair Pierre’s role with a supporting actor of such great renown as Giles Terera (who plays Dale Harding, the resident leader of the ‘loonies’) is, to put it lightly, a stroke of genius. Terera’s ability to command the stage while leaving room for all the other actors to take centre stage when appropriate is a key element of what makes him such a great actor. Equally important is his expertise in commanding the scenes that he is a part of, and his ability to effortlessly weave in and out of song to evoke a more powerful message throughout the show.

The choice to use predominantly Black actors as the patients in the mental institution is an interesting take, and one that could potentially be met with resistance. However, the use of Congo Square, New Orleans, as the backdrop in which the play is set really helps to submerge the audience into the history that both Native Americans and African Americans share in such a location. So when the ensemble first enters with drums, singing and purposeful dancing, one can’t help but be drawn into this alternate setting for such an established production.

Special mention must be made of Kedar Williams-Stirling, who plays the tragic role of Billy Bibbit. Though a catastrophic life and a series of self-harm follow Billy throughout the play, his playful, can-do attitude only adds to the parental love one feels towards him, ultimately paying off in the climax to make audiences feel deeply for Stirling’s cheeky, Bambi-esque depiction of such a tragic character. Occasionally, one can err too far towards mimicking a stutter, which the character of Billy has; however, Stirling manages to find the balance between respectful representation and effective storytelling. In fact, between Stirling and Ene Frost (who portrays the character of Ruckley), commendation must be given for treading what is otherwise a very difficult line.

Though, as a whole, the show is a faithful revival of both a theatrical and cinematic classic, the narration of Chief Bromden feels underpowered. Many times, it’s difficult to decipher what story he is telling between scenes, and when it comes to the big reveal in his character arc, it leaves an almost muted impression, as the investment in the character is not quite there. Perhaps it is due to the fact that so much is going on in the round that you can’t quite focus on everything, but considering that this is his story to tell, it doesn’t quite provide the clarity needed for the audience to fully invest in him.

Overall, One Flew Over the Cuckoo’s Nest at the Old Vic comes tantalisingly close to being a masterpiece. There is much to admire – it’s a bold, culturally reimagined look at this timeless text that takes risks, many of which pay off. With a firmer grasp on the narrative perspective through Chief Bromden, it would most certainly cross the line into being unforgettable.